The subtitle refers to the capadócio, also called malandro carioca: a rascally character of the Rio de Janeiro Carnival (Santos 1985, 32； Wright 1992, 105). This prelude relies on the musical genre of the choro, similar to the composer's Chôros No. 1, also for solo guitar. This is especially evident in the systematic rubato and harmonic structure of the first section, and in the rhythms and melody in parallel fifths for the central section, which recalls the berimbau (musical bow) and the stylized capadócio dance-game called capoeira (Béhague 1994, 142).